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Aesthetic Theory

by Theodor W. Adorno Adorno
University of Minnesota Press, 1998
Cloth: 978-0-8166-1799-9 | Paper: 978-0-8166-1800-2
Library of Congress Classification B3199.A33A813 1997
Dewey Decimal Classification 111.85

TOC

  • Contents 
    • Translator's Acknowledgments
    • Translator's Introduction
    • Art, Society, Aesthetics
      • Art's Self-Evidence Lost
      • Against the Question of Origin
      • Truth Content and the Life of Works
      • On the Relation of Art and Society
      • Critique of the Psychoanalytic Theory of Art
      • The Art Theories of Kant and Freud
      • “The Pleasure of Art”
      • Aesthetic Hedonism and the Happiness of Knowledge
    • Situation
      • Disintegration of the Material
      • Deaestheticization of Art, Critique of the Culture Industry
      • Language of Suffering
      • The New: Its Philosophy of History
      • On the Problem of Invariance; Experiment (I)
      • Defense of Isms
      • Isms as Secularized Schools
      • Feasibility and Accident; Modernity and Quality
      • “Second Reflection”
      • The New and Duration
      • Dialectic of Integration and the “Subjective Point”
      • The New, Utopia and Negativity
      • Modern Art and Industrial Production
      • Aesthetic Rationality and Criticism
      • Canon of Prohibitions
      • Experiment (II), Seriousness and Irresponsibility
      • Black as an Ideal
      • Relation to Tradition
      • Subjectivity and Collective
      • Solipsism, Mimetic Taboo, and Maturity
      • Métier
      • Expression and Construction
    • On the Categories of the Ugly, the Beautiful, and Technique
      • On the Category of the Ugly
      • Ugliness: Its Social Aspect and Its Philosophy of History
      • On the Concept of the Beautiful
      • Mimesis and Rationality
      • On the Concept of Construction
      • Technology
      • Dialectic of Functionalism
    • Natural Beauty
      • Condemnation of Natural Beauty
      • Natural Beauty as a “Stepping Out into the Open”
      • On Cultural Landscape
      • Natural Beauty and Art Beauty Are Interlocked
      • The Experience of Nature Is Historically Deformed
      • Aesthetic Apperception Is Analytical
      • Natural Beauty as Suspended History
      • Determinate Indeterminateness
      • Nature as a Cipher of the Reconciled
      • Hegel's Critique of Natural Beauty: Its Metacritique
      • Transition from Natural to Art Beauty
    • Art Beauty: Apparition, Spiritualization, Intuitability
      • “More” as Semblance
      • Aesthetic Transcendence and Disenchantment
      • Enlightenment and Shudder
      • Art and the Art-Alien
      • The Nonexistent
      • Image Character
      • “Explosion”
      • Image Content Is Collective
      • Art as Spiritual
      • Immanence of Works and the Heterogeneous
      • On Hegel's Aesthetics of Spirit
      • Dialectic of Spiritualization
      • Spiritualization and the Chaotic
      • Art's Intuitability Is Aporetic
      • Intuitability and Conceptuality
    • Semblance and Expression
      • Crisis of Semblance
      • Semblance, Meaning, and “tour de force”
      • Toward the Redemption of Semblance
      • Expression and Dissonance
      • Subject-Object
      • Expression as Eloquence
      • Domination and Conceptual Knowledge
      • Expression and Mimesis
      • Dialectic of Inwardness; Aporias of Expression
    • Enigmaticalness, Truth Content, Metaphysics
      • Critique and Redemption of Myth
      • The Mimetic and the Ridiculous
      • Cui bono
      • Enigmaticalness and Understanding
      • “Nothing shall be left unchanged”
      • Enigma, Script, Interpretation
      • Interpretation as Imitation
      • “Block”
      • Fractured Transcendence
      • On the Truth Content of Artworks
      • Art and Philosophy; Collective Content of Art
      • Truth as Semblance of the Illusionless
      • Mimesis of the Fatal and Reconciliation
      • Methexis in Darkness
    • Coherence and Meaning
      • Logicality
      • Logic, Causality, Time
      • Purposefulness without Purpose
      • Form
      • Form and Content
      • The Concept of Articulation (I)
      • On the Concept of Material
      • The Concept of Subject Matter; Intention and Content
      • Intention and Meaning
      • The Crisis of Meaning
      • The Concept of Harmony and the Ideology of Closure
      • Affirmation
      • Critique of Classicism
    • Subject-Object
      • Subjective and Objective are Equivocal; On Aesthetic Feeling
      • Critique of Kant's Concept of Objectivity
      • Precarious Balance
      • Linguistic Quality and Collective Subject
      • Subject-Object Dialectic
      • “Genius”
      • Originality
      • Fantasy and Reflection
      • Objectivity and Reification
    • Toward a Theory of the Artwork
      • Aesthetic Experience Is Processual
      • Transience
      • Artifact and Genesis
      • The Artwork as Monad and Immanent Analysis
      • Art and Artworks
      • History Is Constitutive; “Intelligibility”
      • The Necessity of Objectivation and Dissociation
      • Unity and Multiplicity
      • The Category of Intensity
      • “Why a work can rightfully be said to be beautiful”
      • “Depth”
      • The Concept of Articulation (II)
      • On the Differentiation of Progress
      • Development of Productive Forces
      • The Transformation of Artworks
      • Interpretation, Commentary, Critique
      • Truth Content Is Historical; The Sublime in Nature and Art
      • The Sublime and Play
    • Universal and Particular
      • Nominalism and the Decline of Genres
      • On Antiquity's Genre-Aesthetics
      • Philosophy of History of Conventions
      • On the Concept of Style
      • The Progress of Art
      • The History of Art Is Inhomogeneous
      • Progress and Domination of the Material
      • “Technique”
      • Art in the Industrial Age
      • Nominalism and Open Form
      • Construction, Static and Dynamic
    • Society
      • Double Character of Art; fait social and Autonomy; On the Fetish Character
      • Reception and Production
      • Choice of Thematic Material; Artistic Subject; Relation to Science
      • Art as Comportment
      • Ideology and Truth
      • “Guilt”
      • On the Reception of Advanced Art
      • Mediation of Art and Society
      • Critique of Catharsis; Kitsch and the Vulgar
      • Attitude to Praxis; Effect, Lived Experience, “Shudder”
      • Commitment
      • Aestheticism, Naturalism, Beckett
      • Against Administered Art
      • The Possibility of Art Today
      • Autonomy and Heteronomy
      • Political Option
      • Progress and Reaction
      • Art and the Poverty of Philosophy
      • Primacy of the Object and Art
      • The Problem of Solipsism and False Reconciliation
    • Paralipomena
    • Theories on the Origin of Art
    • Draft Introduction
      • The Obsolescence of Traditional Aesthetics
      • The Changing Function of Naïveté
      • Irreconcilability of Traditional Aesthetics and Contemporary Art
      • Truth-Content and the Fetish Character of Artworks
      • The Need for Aesthetics
      • Aesthetics as the Refuge of Metaphysics
      • Aesthetic Experience as Objective Understanding
      • Work-Immanent Analysis and Aesthetic Theory
      • On the Dialectics of Aesthetic Experience
      • Universal and Particular
      • Critique of the Phenomenological Research of Origin
      • Relation to Hegel's Aesthetics
      • The Open Character of Aesthetics; Aesthetics of Form and Aesthetics of Content (I)
      • Aesthetics of Form and Aesthetics of Content (II); Norms and Slogans
      • Methodology, “Second Reflection,” History
    • Editors' Afterword
    • Notes
    • Index
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